Intro Just met someone in the train on my way here, and he mentioned he was a train driver, nice and simple, eventually he asked “what do you do?” and I had to select one of my usual five to six options.

Answers vary depending on: Who you are talking to / where you are What you are working on at the moment

But really, does it matter? Is this an issue? Why do we need label? Cause it's linked to copyrighting and selling lines. There is something nice in the simplicity of saying “I'm a train driver”, is our answer vague, because what we do is vague?...

As it got us talking about what we do and this session was shared with Jane Pitt's session on ‘Participation?’ cause we both wanted to talk about both subject, we moved on to the question of ‘participation’ in work and its links to labeling.

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We live now in information - it is our environment. An aspect of what we can do in response to current events is the information we have about what's actually going on. Perhaps if we can clean up the information environment we will make better decisions about what to do next.

"How do we improve female working class visiblility in the arts?" was the question posed at the start of day.
As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead

This Open Space covered a wide range of subjects including gender, ethnicity, stage allies, pre- and post-show ally-ship, awareness, play and best practice.
It was convened by Stephen Davidson (Author: Play Like An Ally and Improvising Gender; Artistic Director: Improvable; Nursery Theatre: Training Centre Manager), Minder Kaur Athwal (Facilitator), Victoria Hogg (Founder: DDG Improv and The Offer Bank).
NB. These notes are not perfect! They were taken long-hand in the moment and are a startin

Why was there an absence of younger improv troups & artists?
What generation is GII tailored for? Does time & experience equate to best practice?
How can we make this an intergenerational space and open up the 'inner circle'?
Will that create better opportunities for both emerging artists and established improvisers?

A discussion about how to create a genuinely safe and open atmosphere in improv classes from the first class someone takes.
How do we protect students from potentially harmful experiences which can arise from the rigidity or literal interpretation of 'Yes, and' ?

These are notes taken as Guy Hartnell shared about the Oogly Boogly project, where performers improvised with babies by copying their movements and sounds, while the babies' parents watched. It took place inside a large inflatable venue. The notes were taken by Catherine Ryan.

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